Author Archive

Bodega Bay‘s lo-fi debut is a light dose of simple slacker fun. “Tarkovski” sounds like it was recorded in a kitchen amongst a close knit group of friends. Its addictive pop hooks are delightfully crunchy and blown out, likely collected by nothing more than a computer mic—perfectly EQ’d for lazy laptop enjoyment.

Brooklyn slackgaze sweethearts ONWEare back with a new video for their debut single, “Unpaid Internship.” Young indie bro David Welles takes us on a hip trek through his native New York. It’s a leisurely stroll filled with e-cigs, single dollar bills, and occasional half-baked symbolism. All pulled together by a cheeky smile and a gleeful prance.

Single Lash is reverb-drenched Austin, Texas outfit whose distorted tones emanate from a deep, opaque chamber. Their newest single, “Soft As Glass,” sounds like a nearly industrial take on the dark shoegaze of their earlier material. Indiscernible vocal chants drift amidst a cold, mechanical landscape before fading into nothingness.

If you’ve ever wanted to live forever in the white noise of a tuning orchestra, look no further than drone connoisseur Kyle Bobby Dunn. “Duck Faced Fantasy” is a warm spot in the oft-melancholy excursions of the elegant minimalist. The work builds in gradual delight, brimming with pristine, youthful glory.

Kyle Bobby Dunn and the Infinite Sadness will be released on vinyl and CD on March 1st via Students of Decay.

In contrast to the soothing harmonies of his sparkling guitar, the overall sentiment of ONWE‘s debut, “Unpaid Internship” is markedly negative. Set to the backdrop of a smooth indie rock chiller, the Brooklyn slacker outfit laments upon a slew of adolescent problems, namely “I can’t believe I work an unpaid internship.” The foul smell of privilege wafts in and out of brilliant hooks and pop nuggets, and it’s a fair guess whether the song is a work of brutal honesty or scathing satire.

On a self-titled track, Nice Luck Two emerges from the catacombs of a crumbling earth towards a serene desert sky.

In the first minute, the artist calmly pushes off from the shore into an exotic unknown. Immediately, I’m taken by the attention to texture, completely obsessed by the natural, crunchy sound of what feels like a rolling river of rock, each slab breaking into smaller pieces with every passing movement. While the narrative qualities of Nice Luck Two’s work remind me of soundscape artists of yesteryear, the selected sounds feel timeless.

A full release, *, is available for download via Ann Arbor collective GRL MTN.

Maximillion Dunbar’s latest release as Max D is a simple textural excursion, brimming with youthful curiosity. Crystal clear digital synths freely bounce around each other like unbound spirits. Unlike his last full-length, House of Woo, a traditional percussive foundation is delightfully absent, allowing the elements of “Calvin and Hobbes” to playfully explore the space that Max has created, each at their own pace.

Vancouver’s Pender Street Steppers‘ fresh take on early house is leisure-centric and undeniably fun. “Openin’ Up” is full of jittery toms, chopped half-man-half-saxophone melodies, and compressed claps—all wrapped up in friendly tape-hiss.

Proudly touting a late eighties easy listening sheen, “Surface” is the debut single from the Keats Collective’s future funk expert, Flamingosis. The young sampler jams out nostalgic R&B hooks with tantalizing percussion for a pulsating two-and-a-half minutes of below-the-surface bliss. Stay on the lookout for his self-titled debut, set to be shared via Keats Collective in less than a week.